Wind River Movie Script
by nourtirs
Summary: An FBI agent, Jane Banner (Elizabeth Olsen) teams up with a veteran game tracker, Cory Lambert (Jeremy Renner) to investigate a murder that occurred on a Native American reservation.
1. Girl's running

WIND RIVER

Written by :

Taylor Sheridan

OPEN ON:

SNOW COVERS AN ENDLESS PLAIN ON A MOONLESS NIGHT.

Clumps of sagebrush, huddled together like angry gnomes, are the only evidence of life in this place.

There is no movement.

No sound.

Until ...

The sound of FEET CRUSHING SNOW.

Moving toward us.

Fast.

A GIRL RUNS PAST US -- SCREAMING.

She's in her late teens, wearing a baby blue, down-filled coat. White sweat pants. She runs as though her life depends on it ... Which it does.

GIRL'S VOICE (V.O.)

There is a meadow in my perfect world. Where wind dances the branches of a tree, casting leopard spots of light across the face of a pond ...

ANGLE ON:

BARE FEET slamming frozen earth. Blood staining the snow with every step.

GIRL'S VOICE (V.O.)

The tree stands tall and grand and alone, shading the world beneath it.

WE RUN BESIDE HER.

We take in her pretty face as she sobs, heaves in air, stumbles, and falls out of frame.

GIRL'S VOICE (V.O.)

There will come a day when I rest against its spine and look out over a valley where the sun warms, but never burns ...

She rises, blood drips into her eye from an unseen wound. Takes off again and somehow runs faster -- screams whipping behind her like a cape.

GIRL'S VOICE (V.O.)

I will watch leaves turn.

Green, then amber, then crimson.

Then no leaves at all ...

The faster she runs, the farther the horizon moves from her. As if the earth is tilting to prevent this girl from reaching her destination.

GIRL'S VOICE (V.O.)

But the tree will not die. For in this place, winter never comes ... It is here, in the cradle of all I hold dear, I guard every memory of you.

She finds her stride. Crying less. Running harder. Gaining momentum. Pulling away from us. Getting down to the business of surviving.

GIRL'S VOICE (V.O.)

And when I find myself frozen in the mud of the real -- far from your loving eyes, I will return to this place, close mine, and take solace in the simple perfection of knowing you.

WE WATCH FROM A DISTANCE:

Her white pants match the snow, her black hair matches the night -- all we can see is a baby-blue coat that floats above the plains like a wayward balloon, bouncing above a white desert.


	2. The Hunter

CUT TO:

EXT. HIGHWAY 789 -- CENTRAL WYOMING -- DAWN.

Yellow lines whip beneath us.

The faded blacktop is a gray blur as we chew road.

To our left is an ocean of sage brush and dirty snow, sprawled out before the towering WIND RIVER MOUNTAIN RANGE.

A PICK UP TRUCK makes its way down a deserted highway.

On the door is an OFFICIAL SEAL and the letters U.S.F.W.S.:

THE UNITED STATES FISH AND WILDLIFE SERVICE.

INT. PICK UP TRUCK -- CONTINUOUS.

A MAN grips the steering wheel. Sips coffee from a travel mug. He's around 40. Sunken cheeks. Mustache.

Cowboy hat on his head. Almost white when it was new -- sweat, dirt, and who knows what else, have stained the hat brown and robbed it of its shape.

A fair description of the man as well.

Through the windshield we see a dirt road that meets the black top. The truck slows, turns onto it.

EXT. SAGEBRUSH PRAIRIE -- DAY.

FIVE HUNDRED SHEEP wander through snow in a futile search for something to eat.

In the distance, we see: TWO COYOTES.

They duck behind the sagebrush, then reappear seventy-five yards closer, only to disappear again.

Farther to the flock's left, THREE MORE COYOTES approach at a trot. They see no need for stealth -- these sheep have nowhere to go ...

The sheep spot the killers approaching and huddle into a tight circle -- with the rams forming an outer layer of protection.

If coyotes could laugh, they would laugh at this.

The two wary coyotes; however, make no attempt to approach. They raise their noses to the air -- sucking in the wind's secrets. And just like that, they disappear.

The other three move eagerly toward their lunch.

THUNDER SHAKES THE VERY EARTH.

One of the coyotes is blown backwards, cart-wheeling through the snow.

The other two stop.

MORE THUNDER. A second coyote is driven into the ground like he's been hit with a giant hammer.

The last coyote turns and runs for the safety of anywhere but here.

WIDEN TO REVEAL --

The man, dressed completely in white, lays prone -- invisible in the snow. A rifle pressed to his shoulder. He works the bolt -- chambers another round.

WE SEE THE LAST COYOTE THROUGH A RIFLE SCOPE.

The cross-hairs find the back of the coyote's head bouncing in and out of view. The scope begins to move with it. The rifle invades the silence again. When the muzzle flash disappears, we see the coyote splayed out in the snow.

In the distance, the two coyotes wise enough to never trust the scent of man crest a far rise, and drop out of view.

The sheep shriek in terror as they run around in a giant, panicked, pointless circle.

The man rises and walks toward the carnage he inflicted.

The flock runs right toward the man, who doesn't stop. Doesn't even look in their direction.

The flock almost runs into him before dividing and passing him on either side. They rejoin, and continue their silly circle -- all instinct for survival bred out of them.

EXT. SAGEBRUSH PRAIRIE -- DAY.

The man looks at the dead coyotes with no emotion. He removes a rope from a backpack. Begins looping the rope around the back feet of a coyote, then moves to another and does the same.

All three are now tethered together and he begins the chore of dragging them through the snow and red dirt.

He drags them past the flock, which stands idly by, panting like tired dogs.

His dark eyes hold no joy. No sorrow either.

This is not sport.

This is his job.

This is CORY LAMBERT.


	3. The Snow Men

CUT TO:

INT. PICK UP TRUCK -- DAY.

Cory warms his free hand against the truck's vent. Grabs his coffee. Takes a sip. The coffee's cold. Doesn't matter -- not his first cold cup of coffee. He stares at the road. If the truck had a radio that worked, he'd turn it on.

EXT. BUREAU OF LAND MANAGEMENT FIELD OFFICE -- DAY.

BLM OFFICER TIM WINTER, late 30's, big coat, bigger cowboy hat, stands beside USFWS ENFORCEMENT AGENT DALE BERTRAM, early 30's.

They stare at the coyotes in the bed of Corey's truck.

TIM

Did you see Wyman's sheep dogs near the flock?

CORY

Nope.

TIM

Told me he had six dogs watching over it.

CORY

He don't have six dogs anymore. Those coyotes moved on that flock like they've been doing it all month.

TIM

Buggers are bad this year. We'll be lucky if there's a flock of sheep standing come April.

Tim looks to the STORM CLOUDS that loom over the WIND RIVER MOUNTAIN RANGE like a reckoning.

TIM (CONT'D)

After this storm, I want you up in a chopper. Those mutt's will be easy to spot with a coat of fresh snow. When can your boy fly, Dale?

DALE

We'll see what kind of wind follows the storm. Maybe Wednesday.

He looks at Cory.

DALE (CONT'D)

I got a call from BIA Police, the chief was asking for you. A mountain lion's working through the flocks east of Boulder Flats.

Tim can't help but laugh.

TIM

You'd think folks would learn this isn't sheep country.

They all laugh at that.

DALE

Tore up a horse and some weanlings too.

CORY

That sounds like wolves.

DALE

Chief says it's a cat, and they ain't had no luck getting it. I offered Kenny and his hounds, but they don't want a white man running around on the rez with a firearm.

CORY

They don't want a white man out there period. I'll call him.

TIM

I forget you're part Indian.

CORY

Well ... I'm Indian enough to do favors, but not enough to pull a check.

DALE

Be careful out there. Half those boys are tweaked out of their minds.

Cory doesn't answer.

TIM

Shit, that junk's everywhere now. I'm scared to let my daughter leave the house.

As soon as Tim says it, he wishes he could have it back.

Everyone looks to the ground.

To the mountains. To the storm hovering.

Anywhere but Cory, who stares at the coyotes' corpses in the bed of his truck.

Lifeless eyes stare back.

CORY

I gotta go.

DALE

Okay. Drop those off at Fish and Game.

CORY

Yep.

He climbs in his truck and starts it in one fluid motion. He pulls toward the road as the coming storm inches closer.


	4. Ex and Family

CUT TO:

INT. CORY'S PICK UP -- LANDER, WYOMING -- DAY.

Cory drives through the town of Lander. Feed stores, fast food, and a Wall Mart pass by his window.

He turns on a side street and pulls up to a small house.

Parks. Gets out.

EXT. WILMA LAMBERT'S HOUSE -- CONTINUOUS.

Cory walks up the driveway past a faded, Silver Subaru. Reaches the door. Rings the bell.

The door opens and WILMA LAMBERT, 38, full blood Shoshoni, gives Cory a terse smile.

She was a beauty two kids and many heartaches ago, but bad food and cigarettes are winning the war against her looks.

Still, effort went into her hair, and make-up was delicately applied.

WILMA

You got blood on your shirt.

CORY

I was at work.

She nods, but doesn't approve.

WILMA

Who was the victim today?

Cory knows her well enough to sense her moods, and apparently she's in one right now.

CORY

Looks like it's gonna be me.

She stares at him. Her face goes from anger to pity to tired in an instant. She waves him in.

WILMA

Want some coffee?

He doesn't, but:

CORY

Sure. Thank you.

He steps in, removing his hat.

INT. WILMA LAMBERT'S HOUSE -- CONTINUOUS.

It is exactly what you would expect from a prefab home owned by a woman with good taste and no money. The place is spotless. Mismatched Lazy Boys and outdated furniture are thoughtfully arranged.

Wilma disappears into the kitchen, leaving Cory alone in the living room.

He stares at the ground. Fumbles with his hat. Looks at the ceiling fan. ... Gives up and turns his gaze toward the fireplace.

Above the mantle is a 16x24, FRAMED YEARBOOK PHOTOGRAPH of a TEENAGE GIRL.

She wears a basketball uniform. Black hair neatly braided into long pig-tails. Big smile. Bright eyes. His eyes.

Sage bundles, Sweetgrass braids, and an eagle feather are arranged around it. It is a shrine.

Wilma returns. Hands him a mug. He nods his appreciation.

CORY

I gotta go to the Rez tomorrow, thought I'd take Casey by your folks.

She winces at the word 'Rez', then nods at the word 'folks'.

WILMA

Something killed a yearling in the pasture behind their house.

CORY

That's why I'm going.

WILMA

Probably one of those Littlefeather demons. They stole two of Daddy's calves last spring.

CORY

Mountain lion, wolf, or demon child, they want me to find it.

WILMA

Don't let Casey out of your sight on the Rez, okay?

CORY

I was gonna leave him with your folks while I scouted. Too cold to drag him through the snow.

WILMA

You know what I mean.

Cory seems to make eye contact with her for the first time.

CORY

Yeah, I do. And I won't.

Cory sips his coffee. Then yells down the hall.

CORY (CONT'D)

CASEY!

CASEY

DAD??! OKAY! I'M COMING.

Appearing in the hall and bumbling toward Cory is CASEY LAMBERT, 8 years old.

Olive skin and short, black hair covered by a weathered cowboy hat very similar to Cory's.

Though the skin and hair are darker, this is clearly Cory's son.

The boy labors toward his dad with suitcase, sleeping bag, coat, and BB gun in a noisy, clumsy, ball of energy.

CORY

What did I tell you about pointing that BB gun at people?

Casey freezes. Drops everything but the gun.

CASEY

Sorry dad.

CORY

Being careless won't get you anywhere faster.

CASEY

No sir.

CORY

Put the BB gun in the truck then come back for the rest.

CASEY

Yes sir.

He begins running for the door.

CORY

Don't run with it.

Slows to an urgent walk. Pushes through the screen door.

WILMA

I'll be back Monday afternoon.

CORY

Watch yourself on the road.

WILMA

He doesn't need to be missing school to go chasing coyotes with you.

CORY

We'll get all the chase out of our system tomorrow ... You be careful.

WILMA

This won't be my first snow storm in a car.

Cory walks over to Casey's things.

WILMA (CONT'D)

Let him. Needs to learn to do things for himself.

Cory grabs his things anyway.

CORY

I agree, but I've stood here as long as I care to. Hope the interview goes well in Jackson.

WILMA

Yep. We'll see.

CORY

If anyone was born to make a living talking on the phone ...

She takes the jab as one of affection, which it was.

CORY (CONT'D)

It's a good school over there. Good town.

She nods.

WILMA

If I get the job, we're gonna have to talk about his child support -- Jackson's a lot more expensive.

CORY

Get the job. We'll get the rest figured. You got my word.

Whatever happened to these two, they are unified in their desire to find a better life for their son.

He pushes the screen door open. Looks back at her.

CORY (CONT'D)

Take Togwotee Pass. Don't go through Pinedale. Storm's coming from the south.

Wilma's eyes go dark.

WILMA

You couldn't drag me through Pinedale with a rope. I'll never set foot in that town again.

He nods without agreeing, then pushes through the door.

INT. CORY'S PICK UP -- DAY.

Casey looks at his father, then at the coming storm.

CASEY

She's gonna be a bad one.

Cory hides a smile at Casey's attempt to speak like a man.

Looks at his son -- a miniature, if darker, version of him.

Looks at his hat -- beaten and filthy, just like his.

CORY

You just got that at Christmas.

CASEY

It's taken a beating, just like a hat should.

CORY

Doing what? You've only had the thing two months.

CASEY

I'm in the 4-H barn three times a week.

Cory draws in a breath to reprimand. Looks at his boy -- so desperate to please -- and swallows it. Gives wisdom instead.

CORY

Life dirties things plenty fast on its own, don't need any help from you.

Casey stares at the floorboard. Gives a submissive nod as the excitement of a weekend with dad drains from him. He looks out the window as the outskirts of town fade into frozen fields.

Cory regrets saying anything at all.

CORY (CONT'D)

Hey.

Casey looks up.

CORY (CONT'D)

When we get home, I'll help you dust that hat up the right way. Okay?

The tiniest of smiles crosses Casey's face.

Through the windshield we see storm clouds, black as the coming night, push against the mountains that contain them.

EXT. CORY LAMBERT'S PLACE -- DUSK.

Beside a small house is a corral. Four horses huddle together, asses to the wind, wishing like hell it was spring.

Cory and Casey emerge from an old barn carrying hay. Cory flips a latch and swings the gate open, snapping the horses from their stupor.

The horses head straight for Casey -- RIPPING HAY FROM HIS BUNDLE.

Cory tosses his hay bale in a trough, then turns back to Casey.

CORY

Push their nose when they rub up on you like that.

Casey pushes one horse as another reaches over his head and grabs more hay, whipping Casey in the face when it does, knocking him down.

Cory steps up and all the horses hurry toward the trough, like a high school fight breaking up when the principal arrives.

Cory looks at his son, who has no hay left to hold.

He sits on the ground -- face, coat, and hat covered in shredded alfalfa and horse slobber.

CORY (CONT'D)

Told'ya I'd get that hat dirty.

CASEY

They got the height advantage on me is the deal.

CORY

We can fix that.

Cory smiles. Most kids would've been terrified, but Casey stood his ground.

Cory walks up behind Casey, lifts him and sets him on a livercolored mare that is far too busy eating to care about the boy now on her back.

CORY (CONT'D)

Remember what I showed you?

CASEY

But she's eating.

CORY

You want that horse to be yours some day, prove it. Not to me, to her.

Casey lets out a breath. Grabs a handful of mane, and pulls back slightly. The mare raises her head, but doesn't move.

CORY (CONT'D)

Put those boots into the front of her chest.

He kicks into her. She bolts up. Casey grabs on tight.

CORY (CONT'D)

I didn't say kick. Ask her before you tell her. Just press your boots into her chest. Gentle.

He does, and the mare backs up.

CORY (CONT'D)

Ease up on the mane, and give her a little nudge in the ribs.

He does. The mare obeys, and moves forward.

CORY (CONT'D)

Wherever you look is where she goes. Take her to the gate.

Casey stares at the gate with the focus of a surgeon.

CORY (CONT'D)

Get alongside and open it.

Casey sends cues through his feet and negotiates the mare parallel to the fence. He reaches down to the latch.

Casey wrestles with the latch his father flipped without effort. He struggles.

CORY (CONT'D)

Freezes up quick, don't it ... Give it a good hit.

Casey curls his fist and pounds the lever. The gate swings open. Cory pulls Casey off and sets him on the ground, facing the mare.

CORY (CONT'D)

Let her know you.

Casey stands in front of her. The mare inches closer, pressing her nostril to Casey's nose, inhaling his exhaled breath.

CORY (CONT'D)

Put a hand to her face. Gentle, like a friend.

He does. Then looks back at his father, all smiles once again.

CASEY

That was pretty cowboy, huh?

CORY

No, son. That was Arapahoe.

Cory closes the gate and they walk to the little house as the mare hangs her head over the fence, watching the boy -- forgetting the meal so important a moment ago.

INT. CORY'S HOUSE -- NIGHT.

Cory and Casey sit on the couch. Casey eats a sandwich and stares at the TV. Cory looks over A TOPO MAP as he speaks on the phone.

CORY

Yeah. I'm looking at it. There's drill rigs over there, lions don't like the noise ...

You sure it's something and not somebody? ... Alright, I'll check it out in the morning. If you got lions, I'm gonna have to bring Kenny's hounds in to run 'em ...

Name an Indian with lion hounds and I'll use him. Call you if I find anything.

Cory hangs up. Looks at his son, lost in the television. Little mouth chewing little bites, stopping for a little sip of soda.

Cory watches him. Smiles. Sits back quietly.

The smile disappears. Worry replaces it.

Above the fireplace is the same photograph of a teenage girl dressed to shoot hoops, though much smaller. Cory stares at the photo, then back to his son -- who is staring right at him.

Casey smiles, then returns to the TV.

Cory rubs his eyes. Pinches the bridge of his nose.

Hard.

Forcing emotion to retreat to wherever emotion comes from.

CUT TO:

INT. CORY LAMBERT'S HOUSE -- CASEY'S BEDROOM -- NIGHT.

The door creaks open. A shadow slinks in. Sits on the edge of the bed.

A hand reaches out and rests gently on Casey's chest.

CORY

Hey.

The sheets move a little.

CORY (CONT'D)

Come on. Wake up, son. We gotta go.

Casey bolts upright.

CASEY

I'M UP.

The shadow rises, walks to the door. Turns on the light.

CORY

I'm making breakfast. Get dressed. We gotta feed the horses.

Casey rubs furiously at his eyes and yawn.

CASEY

Waiting on you.

CORY

(Smiles )Yeah ... I can see that.

Cory walks out as Casey rises, shaking off the night.


	5. The Den

CUT TO:

INT. CORY'S PICK UP -- PRE-DAWN.

Cory sips coffee. As they drive down the highway, PRONGHORN ANTELOPE walk parallel to the road. Following a path carved into these plains before man sparked his first fire.

INT. CORY'S PICK UP -- DAWN.

The sun has crested the horizon behind us. Ahead of us -- the Wind River mountains and the storm clouds that gather above them.

CASEY

How come the clouds just sit there? Why don't they dump their snow and get it over with?

CORY

Mountains hold the clouds back with the winds that blows between 'em. Makes a sort of suction. Sometimes they can suck the storm right out of the clouds. Sometimes they just make it worse, cuz a big storm will sit there and gather strength from the winds that hold it back ... Our ancestors believed the storms hold the spirits of vengeance, and the mountains are our protector. But when enough evil lives in our people, the mountains free the storm to punish the demons among us.

CASEY

That what you believe?

Cory smiles.

CORY

No.

Beat.

CORY (CONT'D)

Sometimes.

Up ahead, we see a small, log cabin with a barn even worse off than Cory's. TWO HORSES run and kick at the dropping pressure and the storm behind it. Cory drives up and parks.

The front door is already open. An Indian man in his 70's stands in long johns and boots with no regard for the subzero temperature. This is DAN CROWHEART, Casey's grandfather.

CORY (CONT'D)

(Re: the horses) Sense the storm.

CROWHEART

Yep. That's my cue to stick 'em in the barn. But with a lion about, I don't want 'em stuck in a open stall. They gonna have to make their peace with the storm.(Opening his arms) Come here, grandson.

Casey is already doing that. He runs to him and the old man lifts him with a strength we didn't credit him with having.

CROWHEART (CONT'D)

You're Grandma made fry bread. You have breakfast?

CASEY

Just eggs.

CROWHEART

Go get some then.

Casey disappears inside. Crowheart looks to Cory.

CROWHEART (CONT'D)

Hau, Munape.

CORY

Yep.

CROWHEART

Police chief called you to hunt the lion, eh?

CORY

He called me to hunt something. You lost a steer?

CROWHEART

I'll show you where. It's a lion.

He grabs a coat from a rack and steps outside. They walk behind the house, past the horses and toward a large, fenced, field completely covered in snow.

CROWHEART (CONT'D)

How's Wilma?

CORY

Headed to a job interview in Jackson. Some hotel.

CROWHEART

Jackson Hole. Gonna go live with the millionaires.

CORY

What are you talking about, billionaires chased out the millionaires years ago.

Crowheart looks back as he walks and smiles.

CROWHEART

Save your money. When the wolves start eating their Golden Retrievers, that land's gonna go for pennies on the dollar.

Cory laughs.

Crowheart stops.

THE SNOW IS STAINED RED.

Just beyond is the body of a young steer. Crowheart stands over it and points to tracks in the hard snow.

CROWHEART (CONT'D)

Tell me what that is.

Cory lowers himself to it. Must admit --

CORY

That's a lion.

Cory follows the tracks. Crowheart stays put, watching.

Fifty yards away Cory stops. Looks back at Crowheart.

CROWHEART

There's two.

He follows the tracks farther.

CORY

Three. She's got both of last year's kits with her. They chased your steer around for a while, I bet.

CROWHEART

That's what the tracks say.

Cory walks back toward him.

CORY

She's teaching them to hunt. And she's teaching 'em on livestock ... (Shakes his head) She just got her whole family killed.

Cory looks toward the mountains. From here, they tower over us like a canyon wall.

CORY (CONT'D)

They're tucked up there somewhere. I'll go have a look ... You mind watching Casey for a few hours?

Crowheart smiles.

CROWHEART

You never have to ask that.

CORY

Got gas in your snowmobile?


	6. The Dead Body

EXT. WIND RIVER RESERVATION -- DAY.

Cory drives a snowmobile over the frozen ground, following the tracks. He is far from the cabin. Far from anything. The mountains are so close, you could almost reach out and touch them. To the left, the prairie is broken with GAS DRILL AFTER GAS DRILL, all jutting eighty-feet into the air like giant, steel darts fired into the earth.

Cory slows, sees something he didn't expect. Stops the snowmobile. Looks down. We do too.

HUMAN FOOTPRINTS IN THE SNOW. BAREFOOT. FROZEN BLOOD STAINING THE GROUND AROUND THEM.

Cory steps off the snowmobile and places his hand against the print -- knows instantly this person was not large.

He checks his pistol and his rifle, making sure both are loaded, removes the WHITE CAMO from his backpack. Puts it on. Follows the tracks on foot.

ANOTHER ANGLE --

From a distance, he is invisible. It is as though the snow itself stood up and walked.

WE WALK BEHIND HIM NOW.

The mountains are a hundred yards from him. Pine trees lord over the snow. The clouds cast a shadow that is visible just fifty yards ahead.

Cory studies the ground. Takes two more steps, then stops --

IN FRONT OF HIM IS A PERFECT IMPRINT OF THE GIRL. As though she laid down and made a bloody snow-angel.

We see where she stood up and stumbled toward a small arroyo just ahead.

Cory slings the rifle over his shoulder slowly. Silently. Pulls out his RUGER BLACKHAWK PISTOL.

He hides the pistol under his coat, and cocks the hammer -- no noise.

He raises the pistol to eye level and moves forward. Wherever he looks -- the pistol points. He crests the little arroyo and stares down.

At first he sees nothing. Then -- A HAND. REACHING FROM THE SNOW.

He looks around. Nothing. He looks at the ground. No tracks except those of the girl.

He moves to the hand. Gently brushes the snow away. THE RUNNING GIRL'S FACE STARES BACK. Frozen in a constipated moan. Blood frozen to her face. Blood mixed with the snow and ice around her.

Cory stares at her -- almost as frozen as she is.

His breath leaves him -- but not from the sight of a dead body. He's seen plenty in his day. This is a body he knows.

A snowflake falls. Then another.

Takes off his back pack, pulls out a two-way radio. Turns it to channel 16 -- the emergency channel -- and speaks with a hollow voice.

CORY

I need emergency assistance. Repeat. Emergency assistance requested ... Come back?

Static crackles, then a voice filters through.

DEPUTY (O.S.)

Fremont County Sheriff's office. What's your emergency.

CORY

I found a body on the Wind River

Indian Reservation west of Boulder Flats,

I need Tribal Police to respond to the

following location...

We pull back and snow begins to fall. We pull back farther, and Cory fades as the snow falls faster.

A STRONG WIND pushes the snowflakes horizontal -- it is snowing sideways.

The storm breaks free from the mountains' grasp with a vengeful howl -- ready to punish this land and her people for all the evil they've done.


	7. The Federal Agent

EXT. DAN CROWHEART'S CABIN -- DAY.

Cory stands on the little porch with TRIBAL POLICE CHIEF BEN SHOYO, 50, kind, round face and large, heavy frame.

They watch the storm throw snow at the earth like shrapnel.

Barely visible to the left of the house are THREE TRIBAL POLICE TRUCKS. EMPTY FLAT-BED TRAILERS ATTACHED TO THE BUMPERS. AN AMBULANCE IS PARKED BESIDE THEM.

Two snowmobiles sit in front of the house. Ben lights a smoke.

CROWHEART

FBI's taking a while, eh.

BEN

Road's bad out of Riverton. I hate to move her before they've had a look, but I'm not gonna try to pull her out after dark. We gotta get this show on the road.

Cory steps out into the snow. Kicks at it with his boot.

CORY

We're losing the tracks.

BEN

This ain't letting up. Not for a while.

CORY

Oughta let me follow 'em while I still can.

BEN

Can't have you out there without the FBI's okay, Cory.

Cory looks back to the men on the porch.

CORY

You call her folks yet, Ben?

BEN

I want to get her to Lander first. It looks like Natalie, but I don't want to call the wrong person. Not about this.

Beat.

CORY

It's Natalie.

We look out from the porch and can barely make out -- A BLACK SUV, crawling through the snow on the main road.

CORY (CONT'D)

There's your Feds.

INT. BLACK SUV -- CONTINUOUS.

FBI AGENT JANE BANNER, 28, struggles to see through the snow as her GPS directs her.

GPS

In seventy-five feet, turn right.

JANE

... Where?!

GPS

Turn right ... Turn right.

JANE

Where do you want me to turn right?? WHERE!!!

Dirty-blonde hair falls over a pretty face as she peers closer to the windshield in an attempt to see where the hell she's supposed to go.

EXT. DAN CROWHEART'S CABIN -- PORCH -- DAY.

Dan, Ben, and Cory look at the SUV -- barely visible through the storm -- PULL TO A STOP on the highway.

CROWHEART

What are these fools doing?

CORY

Can't see the road.

Beat.

BEN

We don't have time for this.

CORY

I'll go get 'em.

Cory walks to his snowmobile.

INT. JANE'S SUV -- CONT.

She can barely make out the house a quarter-mile away, and the police vehicles -- white themselves -- are completely invisible.

Jane pulls a ROAD ATLAS out and studies it. Looks back out the window.

Hears what sounds like the whine of a CHAIN SAW.

Cory appears from the snow like a wraith, pulls up beside Jane's window. Knocks on it. No idea a gun is now pointed at him on the other side of the vehicle's door.

She cracks the window, leery.

CORY

You FBI?

JANE

... You Tribal Police?

CORY

No. But I'll take you to them. This thing in four-wheel drive?

JANE

Are you kidding?

CORY

Alright, follow me.

Cory whips the snowmobile around, spewing snow, then drives toward the house.

GPS

In fifty feet --

Jane pounds the power button with her fist.

JANE

Shut up.

Jane puts the SUV in gear and follows. The police vehicles come into view, as does Ben, standing on the porch. His uniform is her first evidence this isn't an ambush. Cory has already parked and is walking back to the protection of the overhang.

She slams the SUV in park and opens the vehicle door.


	8. Jane Banner

EXT. DAN CROWHEART'S CABIN -- CONT.

She tosses a coat over a business suit as she stumbles toward them in the shin-deep snow.

JANE

I'm Jane Banner.

BEN

Is it just you?

Beat.

JANE

Just me.

BEN

Ben Shoyo. I'm Tribal Police Chief.

This is Cory Lambert, works for US Fish and Wildlife. He found the body. This is his father-in-law, Dan. He don't do nuthin'.

CROWHEART

We got the same job, eh?

JANE

Well. Sorry to meet under these circumstances. (To Cory) You wanna show me body?

The men don't move, just exchange bewildered looks.

Jane shivers, hands jammed in her pockets. A half-inch of snow building on her shoulders and the top of her head.

JANE (CONT'D)

I don't want to be rude, but I'm freezing my ass off here, so...

BEN

Yeah, that's gonna get a lot worse if you go out there dressed like that.

JANE

I'm a big girl. Thank you.

Cory steps to her.

CORY

Body's a ten mile drive by snowmobile. You'd be dead before we got there.

She looks away from his dark, intense eyes. Feels a little silly as she shivers in place.

JANE

I was in court in Riverton when I got the call to come here. This is what I have --

BEN

You should have a winter-gear bag in the back there --

JANE

This isn't a government vehicle, it's a rental. I flew in from Denver. I'm just the closest agent to the scene ... You don't think I can make it like this?

She is already shivering to the point it's affecting her speech.

CORY

Come inside. We'll get you fixed up.

He points toward the cabin. Ben extends a hand to her as she reaches the first step. Crowheart has her elbow by the time she's on the porch. It is clear none of these men think she will live five minutes out here.

She should be grateful. She isn't. Pride makes her shake free of the men cradling her like a wounded bird. She walks into the house.

Ben looks at Cory, shaking his head.

BEN

See what they send us?

INT. CROWHEART'S CABIN -- BEDROOM -- A LITTLE LATER.

The humiliation continues as ALICE CROWHEART, 64, a hundred pounds overweight, and fierce eyes, watches Jane pull a pair of thermal underwear over her g-string.

ALICE

Thermals can make underwear wedge up your bottom, but I guess yours are already there.

Jane's smart enough to not respond.

ALICE (CONT'D)

Here, these should fit. You're skinny.

JANE

Thanks.

Alice hands her a pair of jeans. They're a little tight, but they'll do. She climbs into a pair of COVERALLS.

Alice hands her a wool skull cap.

ALICE

You got gloves?

Beat.

JANE

No.

Alice shakes her head.

ALICE

Goodness. What were they thinking sending you here?

Aside from her cheeks, virtually all of Jane is covered. She looks at herself in the mirror -- feels ridiculous.

Alice looks too. Covers her mouth with her hand. Looks like she may cry, then turns back to the bed. Starts folding the rejects.

JANE

Thank you.

While looking down, focused on her folding --

ALICE

You return them the minute you get back. They ain't a gift.

Alice turns and looks right at her.

ALICE (CONT'D)

You hear me?

JANE

... Of course.

Jane walks out to the living room -- all the men waiting for her. Notices Casey.

JANE (CONT'D)

Okay, I'm ... Bundled. Let's go.

Casey grabs his coat, pulls it on.

CROWHEART

You're gonna stay with me, young buck.

Casey looks up at his father. Cory kneels down. Looks into his eyes as his hand gently cups the back of Casey's neck.

CORY

A couple more hours, son. I'm sorry.

CASEY

A couple. This is our day.

CORY

I promise.

Casey seems to tighten and deflate at the same time, as his father rises and walks to the door.

Ben looks outside.

BEN

It ain't letting up.

Cory looks, then turns back to Jane.

CORY

It's ten below outside. You leave that pride on the porch and hug me like your prom date, understood?

Jane is so offended she almost falls backwards.

JANE

I'm the highest ranking law enforcement officer for three hundred miles in any direction. Don't ever tell me what to do again.

Steps closer to her.

CORY

I don't want to insult you, just making sure there's only one girl froze to death out there today.

She turns from him and walks out into the storm.


	9. The Homocide

EXT. SAGEBRUSH PRAIRIE -- DAY.

Jane sits behind Cory on the snowmobile. They race through the white at 60 miles-per-hour.

Jane presses her face into the back of this stranger -- her hands tucked under his ass -- as she experiences cold in a manner unexplainable to those who haven't endured it.

Up ahead, we see FOUR POLICE SNOWMOBILES, and FOUR OFFICERS huddling around a MOBILE PROPANE HEATER. TWO EMT'S huddle beside the body.

Cory and Ben park. Walk toward them. Cory doesn't wait for Jane to start asking questions.

CORY

I picked up her tracks about 300 meters to the south.

Jane nods as she struggles to shake off the bone-breaking cold.

They walk past the officers to NATALIE HANSON'S BODY, and an EMT holding a HEAT GUN -- basically a very powerful hair dryer -- that he waves along Natalie's body where it meets the ice that holds her.

Jane kneels next to her.

JANE

(Calls back to Ben)Got a positive ID?

BEN

Not positive, no.

Cory, and three of the officers say in unison:

EVERYONE

It's Natalie Hanson.

BEN

Haven't found any identification, no one from the family has identified the body, but ...

JANE

We'll call that positive for now. She live close?

BEN

Fort Wakashie. North a ways.

JANE

What's 'a ways'?

BEN

Thirty minute drive.

JANE

Okay, she didn't run from home.

Jane studies the gash. Touches the body.

JANE (CONT'D)

She's frozen solid.

She looks back at Ben.

JANE (CONT'D)

No one reported her missing? Her parents?

BEN

No.

She takes that in.

JANE

Makes the parents rather suspect.

No one likes the sound of that, but they all hold their tongues.

Jane notices dried blood that has soaked and frozen to the crotch of her sweatpants. Notices her bare feet.

JANE (CONT'D)

(Softly) Who did this to you, honey?

As out of place as Jane is in the wild, and this may very well be her first murder scene -- she ignores the cold and focuses. Patient. Observant. She looks up at Ben.

JANE (CONT'D)

How experienced is your medical examiner?

The irony of this girl asking who's experienced ...

BEN

He stays busy.

JANE

Order a rape kit, When he's done with his prelim, I want her sent to Cheyenne. Make sure her belongings go with her. I need them tested. I'm listing this as a homicide.

One of the officers can't help but mumble --

OFFICER

Gee, you think?

Jane stands, looks over the land -- covered in a foot of fresh powder. With more falling.

JANE

We're not going to find the attack site if it's out in the open. Not till spring, anyway.

She turns to Cory.

JANE (CONT'D)

How well do you know this land?

CORY

Like it's my job. Which it is.

JANE

Anywhere she could have been running from? Anything close?

CORY

Nearest homes are seven or eight miles southeast.

BEN

Sam Littlefeather's house is out there.

CORY

Yep.

BEN

Those boys are worth looking into.

JANE

I'm no survivalist, but that's too far to run in the snow -- she's dressed no better than I was and I almost froze to death in your front yard.

CORY

You're not from here.

JANE

There's no structures closer?

CORY

Drill rigs maybe five miles from here. There's trailers for the workers. But they shut it down in the winter.

JANE

So why would a teenage girl be out here?

BEN

Kids come out here on snowmobiles. Have a big party out here in the snow.

JANE

Not barefoot they don't. (To Cory) What do you think?

CORY

Only thing I can tell you about is the tracks.

JANE

That's the only thing we've got.

Cory looks at her for a moment, walks a few feet, begins kicking snow -- making a little clearing.

He kneels into the snow and very delicately begins using his hands, then leans over and blows the snow away.

CORY

Look here.

She leans over him. NATALIE'S FOOT PRINT AND FROZEN BLOOD, NOW MIXED WITH SNOW is visible.

CORY (CONT'D)

See how the toes twist out? And the front of the track is deeper than the back -- almost no imprint of the heel?

JANE

Yeah.

CORY

She was running.

He stands. Points to Natalie's body thirty yards away.

CORY (CONT'D)

She ran until she dropped. There's a spot over here where she fell ...

Cory walks to the bloody snow angel.

CORY (CONT'D)

A pool of blood where her face hit. Gets down to twenty below out here at night. You breathe that cold air deep in your lungs -- like when you're running, it'll freeze em. Lungs fill up with blood, you start coughing it up.

He points to the impression of her face and the pool of blood.

CORY (CONT'D)

Wherever she came from, she ran all the way here. Her lungs burst and she curled up under that tree. She didn't freeze to death ... She drowned.

Beat.

JANE

How far could someone run barefoot out here?

He looks out over the mountains.

CORY

I seen tourists freeze to death in these mountains when it was barely 40 degrees ... I seen a fur trader caught in his own trap, drag himself six miles to a forest service cabin and radio for help. In the dead of winter ... There ain't no gauge for the will to live. Some have it. Plenty don't ... I knew this girl. She was a fighter. However far we think she ran, my guess is she ran farther.

Cory looks east.

CORY (CONT'D)

I got to get back to my son. I promised him a few hours.

JANE

Would you be willing to help me? I mean, I can't ... Hell, I couldn't find the way back to my car. I don't know how to investigate this without ...(She turns to Ben) Can I borrow him for a few days?

BEN

He don't work for me. (To Cory) You got a lion to kill, don't forget.

CORY

There's three of 'em. And I didn't.

JANE

... What do you do for the Forest Service?

CORY

I'm a hunter.

JANE

... A lion hunter??

CORY

I hunt predators.

She looks back at the police officers trying to free Natalie's corpse from a frozen land intent on keeping her.

JANE

Good. Come hunt one for me.

WE PUSH IN CLOSER.

Past the officers. Past the heat gun. We rest on her face -- watching as she slowly thaws. Watching the ice that sealed her eyes begin to melt and run down her cheeks like tears.

Cory looks at her. Says, very softly --

CORY

Okay.


	10. Motel

INT. JANE'S SUV -- NIGHT.

SNOW pounds the windshield as the wipers work frantically to remove it. Snow swarms in the headlights like locust.

Jane leans forward, chin almost resting on the steering wheel, straining to see the road.

GPS

In half a mile, turn left on East Main Street.

The GPS may be right, but there is no way to know -- Jane can't see ten feet in front of her.

She slows down even more -- barely going 30. Turns on her hazards ...

GPS (CONT'D)

In three hundred feet, turn left on East Main Street.

She slows a little more, but still sees nothing -- no road. Nothing.

GPS (CONT'D)

Turn left. Turn left.

She looks to the left, then back to her right --

A TRUCK HORN BLARES.

She slams on her brakes and begins sliding as a SEMI whips by, mere feet from her bumper.

She slides to a stop in the middle of the intersection, now facing the direction of the Semi.

She struggles to slow her beating heart as she watches the brake lights of the truck that almost killed her.

The TRUCK DRIVER gets out, runs back to her. She rolls her window down.

JANE

I'm sorry, I can't see anything.

TRUCK DRIVER

IF YOU DON'T KNOW HOW TO DRIVE IN THIS YOU SHOULDN'T BE ON THE ROAD.

JANE

Who the hell knows how to drive in this??

TRUCK DRIVER

Pull up behind me and follow me close. Don't slam your brakes. Stay in second gear -- and you pull your ass into the first motel we come to.

JANE

That's where I'm headed anyway.

TRUCK DRIVER

Well I guess it's your goddam lucky day.

He turns and runs through the storm back to his truck. She rolls up her window.

JANE

(To no one) I'm really sorry we never had blizzards in FUCKING FLORIDA!!! I'd like to see one of you bastards in a hurricane.

He begins slowly moving forward. Mad as she is -- she obeys, and pulls up right behind him.

EXT. SILVER SPUR LODGE -- LANDER, WYOMING -- NIGHT.

The parking lot is completely empty and covered with snow.

The truck driver points out his window at the motel -- wildly gesturing for her to go there.

Jane turns into the lot, slamming the curb, and spinning her wheels in a furious attempt to reach the safety of the covered entrance.

She parks. Draws in a deep breath, opens the door and steps into the fury of the storm.

INT. SILVER SPUR LODGE -- LANDER, WYOMING -- NIGHT.

The decor is old west meets late 80's -- wagon wheels, black leather couches, and watercolors of mountains, cowboys, and horses.

Behind the counter is INGRED, late 30's, horribly obese, and watching some version of CSI on a small TV. Jane approaches the counter.

INGRED

You look a little frazzled.

JANE

Quite a storm out there.

INGRED

Yeah, you could've picked a better day to travel.

JANE

Could I get a room?

INGRED

How many nights?

JANE

I don't know. A week, maybe.

INGRED

Smoking?

JANE

No.

INGRED

Pets?

JANE

No.

INGRED

If you have a pet, now's the time to tell me -- a whining dog at 3am puts you both back in the storm.

JANE

No pets.

Ingred slides over a large index card.

INGRED

Mastercard, Visa or cash. Fill out your home address and vehicle information. I need to make a copy of your license.

Jane lays her FBI ID and badge out.

JANE

Do you give a government discount?

INGRED

Government's never given me one.

JANE

... So that's a no.

INGRED

And how, lady?

Jane nods as she sets her credit card and license on the counter. Ingred takes them, runs the card.

INGRED (CONT'D)

You here about that girl they just found?

Beat.

JANE

How do you know about that?

INGRED

Small town(reading off the ID), Jane. Another Indian girl, I'm sure.

Jane doesn't answer.

INGRED (CONT'D)

There ain't gonna be a meth problem on the reservation much longer cuz there ain't gonna be any Indians left to do it. Killing their babies faster than they can make new ones.

JANE

You have kids?

INGRED

Two sons. Oldest graduates in June.

JANE

Is meth a problem here?

INGRED

Girls and algebra's my boy's only problems. Can't speak for no one else's kids.

Jane swipes her room key.

JANE

Is the room far?

INGRED

Put you in the first one out the door to the left. You can leave your car under the awning till morning.

JANE

Thank you.

INGRED

Didn't do it to be nice. I got tulip bulbs in planters out there, and I need you running over 'em like I need another hemorrhoid.

With that Ingred climbs back on her stool and returns to the TV. Jane turns and heads for the door.


	11. Examination

INT. CORY LAMBERT'S HOUSE -- NIGHT.

Cory sits at his dining room table. A CENTERFIRE CARTRIDGE RELOADER in front of him. Beside him is a MARLIN GUIDE GUN -- a stainless steel, lever-action rifle chambered in .45-70. It is a rifle for stopping bears. When they are running right at you.

On a small scale he weighs bullets, choosing only those that weigh exactly 540 grains. He seats a rifle casing in the reloader, places a bullet in the machine's teeth, pulls a lever.

When he returns the lever upright, he has a fully formed bullet, almost four inches long.

CASEY (O.S.)

Dad?

Cory looks up. Casey stands in long johns -- hair messed from sleep and a sheepish look on his face.

CORY

Thought you were sleeping.

Casey looks at his feet.

CASEY

(Small) Had a nightmare.

CORY

Bout what?

Beat.

CASEY

Who was she?

CORY

Come over here.

Casey shuffles over and sits at the table.

CORY (CONT'D)

Want a glass of milk?

CASEY

No.

Beat.

CORY

She's just a girl. Lost her way in the snow.

Casey looks at the reloader and the gun resting against the table.

CASEY

What's this?

CORY

Work.

Cory seats another rifle casing.

CASEY

Did she die like Emily?

CORY

She died from the cold.

CASEY

So she died like Emily.

Beat.

CORY

Yeah, buddy. I'm afraid she did.

Cory pushes back from the table. Sets the rifle on the table. Pulls his son onto his lap.

CASEY

Is that for the lion?

CORY

I'm doing some work for the government this week. It's for that.

CASEY

It's a grizzly, isn't it.

CORY

I don't know what it is yet. But I'm gonna try and figure it out ... You wanna go back to bed?

CASEY

No. Can I sleep with you tonight?

CORY

I ain't going to bed for a while.

Casey nods as if that wasn't an answer he had considered.

CORY (CONT'D)

You wanna curl up on the sofa, and I'll take you back with me when I'm done?

CASEY

Okay.

Casey slips off his dad's lap, crawls on the couch, and disappears under a blanket.

Cory returns to his reloader, and the chore of fashioning death, half an ounce at a time.

EXT. CORY LAMBERT'S HOUSE -- DAWN.

We watch from across the road as Cory walks toward the barn, Casey running behind. Sunlight bounces off the snow. The storm has passed. Blue skies above.

We watch them disappear into the barn. Watch the horses press against the gate, unable to go another minute without their breakfast.

INT. CORY'S PICK UP -- DAY.

Casey holds his hands up to the heat vents. Cory looks at his son, wearing his filthy, little cowboy hat.

CORY

What's the test?

CASEY

We're studying the presidents.

CORY

What about 'em, birthdays?

CASEY

No. The ones on money. Do you know who's on the fifty dollar bill?

Cory thinks about it.

CORY

I don't.

CASEY

President Grant.

CORY

That a fact.

CASEY

Yep. Know who's on the hundred dollar bill ... Ben Franklin?

CORY

... I don't think he was president.

CASEY

He got his face on money, I guess he's the president of something. How bout a twenty dollar bill?

CORY

You know son, most of my experience has been with the George Washington and Abraham Lincoln variety.

CASEY

That's the one dollar bill and the five.

CORY

Those I know.

Cory pulls up in front of the elementary school.

CASEY

Are you picking me up?

CORY

Your mom. Unless the road from Jackson's too bad, then it'll be me.

CASEY

I hope the roads are bad.

CORY

You don't ever wish that, son.

He doesn't.

CASEY

Sorry.

CORY

I'll see you Thursday. Then you're mine for a week.

Casey smiles.

CASEY

Thursday.

Casey opens the door. Steps out.

CORY

Good luck on that test.

CASEY

I love you, dad.

Casey closes the door before Cory gets to say it back. Casey runs toward the school through a foot of snow.

Cory watches the boy until he steps through the doors and they close behind him. Puts the truck in gear. Cory's face hardens -- he is a hunter again.

INT. FREMONT COUNTY CORONER'S OFFICE -- NIGHT.

Jane walks down a dim, grey hallway. Ben leans against the wall, sipping coffee.

BEN

I see you found town okay.

JANE

Barely. Did the family identify her?

BEN

Yeah.

JANE

They give you a reason for not reporting her missing?

BEN

Got a boyfriend she stayed with some. Didn't think anything of it. ... She was eighteen. Free to do what she wanted.

JANE

Gonna need to talk to the boyfriend.

BEN

We'll get to that.

Ben begins to push the exam room door open, then stops.

BEN (CONT'D)

You ever done this before?

JANE

Observed an autopsy? Come on ... No ... Is it that obvious?

BEN

Anyone who tells you they get easier is a goddam liar. Let's get it over with.

They push through the doors.

INT. EXAM ROOM -- CORONER'S OFFICE -- CONT.

On a steel table is Natalie. Naked. Chest sawed open like a gutted deer. Jane pretends like it doesn't weaken her knees. Ben walks toward the body, no attempt to hide his unease toward this awful part of his job.

A man, dressed in scrubs, runs a centrifuge along a far wall.

BEN

Randy, you're on a clock. I've got about five minutes of this in me, so let's go.

Dr. Randy Whitehust turns and walks to the body.

DR. WHITEHURST

I'll be quick. (Nods to Jane) Good morning, Randy Whitehurst, I'm the medical examiner.

Jane wants to look anywhere but the body or the man that cut her in half.

JANE

Uh huh. I'm Agent Banner.

BEN

FBI --

JANE

Thank you, yes. I'm FBI. He studies her.

DR. WHITEHURST

This your first autopsy?

 _How does anyone knows this?_

DR. WHITEHURST (CONT'D)

Hey, gotta have a first.

JANE

Yes, it's my first on an investigation, but ... I am trained for this, so everyone just ... Can we get to it, please?

DR. WHITEHURST

Yes ma'am. As you see here, she suffered a deep laceration along her brow line.

He points at each act of violence. Waits for nods from both Jane and Ben before moving on.

DR. WHITEHURST (CONT'D)

Two separated ribs. Frost bite in both feet up through her ankles, frost bite on her nose and her left hand -- the frost bite on her feet is stage four, you can tell by the blueing here, you see that?

JANE

Yes.

DR. WHITEHURST

Vaginal wall is torn. The damage on multiple sides of the wall at different depths indicates penetration by different individuals, and the bite marks along her neck and on the left nipple have distinct measurements --

JANE

So there were two assailants.

DR. WHITEHURST

At least ... I swabbed her and sent the samples by courier to Cheyenne.(MORE)

DR. WHITEHURST

(CONT'D) We should have DNA results in a week or so, but I will state in my report: sexual assault by multiple offenders.

Jane has found herself next to Natalie's head, can't help but gently stroke her hair as though reminding herself this carcass had a soul.

DR. WHITEHURST (CONT'D)

Don't touch her -- I haven't combed her hair for forensics yet.

JANE

Sorry.

BEN

What are you listing as the cause of death?

DR. WHITEHURST

You're not going to like it -- she died from a pulmonary hemorrhage. When sub-zero air is drawn into lungs, it can cause the alveoli -- the tiny sacs in the lungs -- to burst. Fluid builds in the lungs, and if the air is cold enough, liquid in the lungs will crystallize. Ultimately, the victim either freezes from the inside out, or they drown in their own blood ... That's the cause of death in this instance.

Jane thinks. Cory was right. Then she realizes --

JANE

You're not listing this as a homicide?

DR. WHITEHURST

Can't.

JANE

But ... You have to factor in the circumstances. She was raped. Repeatedly. Beaten. And then --

DR. WHITEHURST

Look, circumstances is your field, not mine. Let me show you, come here --

JANE

I don't need it explained -- I need to find whoever chased her to death in this frozen hell and put them in prison, and not calling this a ...

She walks a lap around the room, calming herself, comes back to where she started.

JANE (CONT'D)

Sorry.

DR. WHITEHURST

This is very prosecutable as a murder -- clearly she wouldn't have been running through the snow if she hadn't been attacked, but I can't list the cause of death as a homicide.

JANE

The only way I can get an FBI team to the reservation is if it's listed as a homicide. I'm not here to solve this, I'm here to obtain a cause of death and have someone sent here who can --

DR. WHITEHURST

Look, present the rape, present the assault and I'm sure --

JANE

Those aren't federal crimes! Those crimes fall to the Bureau of Indian Affairs and ... Sorry.

DR. WHITEHURST

You keep saying sorry, but you keep doing it.

She looks at Ben, eyes begging for an alternative.

BEN

Hey, I'm used to no help.

JANE

You have six officers on your entire force -- to cover an area the size of Rhode Island. No offense, but this will have to curl up in your lap for you to solve it.

He does take offense, but also knows it's true.

DR. WHITEHURST

We all know it's a murder. Have a US Attorney sign off on it. I'm happy to corroborate that, I just can't put it on the death certificate.

She walks off, shaking her head.

JANE

Okay. Thank you.

She pushes through the double doors to the hall. Ben walks out after her. She leans against the wall, looking at the ceiling.

BEN

I appreciate your passion. Not the usual response from Feds ... But Randy's on our side --

She turns to him, fierce.

JANE

As soon as my supervisor sees this he's going to want me back in

Denver. Not that I'm much help, but ... I'm all you're going to get. We have no time ... What's that hunter's phone number?


	12. Hanson Family

INT. CORY'S PICK UP -- DAY.

Cory moves through the reservation town of Wind River. It has none of Lander's conveniences -- no 7-11's, no motels, no chain restaurants.

Every structure looks wind-bleached and buckling from the weight of snow on the roofs.

Cory's cellphone rings.

CORY

Hello.

EXT. TROUT CREEK ROAD -- CONT.

We watch Cory's truck -- pulling a small flat-bed trailer carrying a snowmobile -- slow down, make a three-point turn in the middle of the road, and head off the other way.

INT. HANSON HOME -- FORT WASHAKIE, WYOMING -- DAY.

We are inside a house that screams poverty. Furniture is old and broken to the point of barely being functional. Faux-wood siding of the manufactured home is fraying at the edges. Still, extreme care has been given to make it into a home. Photos of Natalie and a handsome TEENAGE BOY are pasted on every wall.

We hear Ben's voice as we look over the home.

BEN (O.S.)

So you never met him.

MAN (O.S.)

No.

BEN (O.S.)

And she never talked about him?

MAN (O.S.)

Not to me.

The man's voice is soft, deep, almost soothing. As we push in on a photo of Natalie and the handsome young man, who is clearly her brother, we hear --

JANE (O.S.)

Why would you let her stay with a man you've never met. A man whose name you don't even know. I look around, see all these photos --

MARTIN (O.S.)

She was an adult.

JANE

Barely.

We see the man now -- Natalie's father, MARTIN HANSON, 40's, every bit of 6'2". Long, black hair pulled in a braided pony tail. Dark, heavy face. But those eyes -- a hawk's eyes. A warrior's eyes. Which are burning into Jane. He looks at Ben.

MAN

Wyuksa psi wasichu.

JANE

What does that mean?

BEN

... It's not good.

She looks at the big man, apologizing without backing down.

JANE

I don't mean to offend you. I'm trying to understand the dynamic, Mr. Hanson. I'm trying to help.

MARTIN

Why is it whenever you people try to help, it starts with insults.

He steps toward her, furious eyes and all. She resists the temptation to draw her weapon.

MARTIN (CONT'D)

I don't know why she wouldn't tell me. But she was eighteen. I chose to trust her. I chose wrong.

He looks her over.

JANE

How about your wife, did your daughter talk to her?

MARTIN

Do you talk to your mother?

Beat.

JANE

It's Annie? Is she here?

MARTIN

She's in the bedroom.

JANE

I'd like to speak to her.

His hawk eyes narrow. He says, almost like a dare --

MARTIN

Be my guest.

JANE

Thank you. (Points down the hall) Bedroom this way?

BEN

Jane.

Ben shakes his head 'no'.

JANE

(To Martin) You don't mind?

MARTIN

Hey, you don't need my permission. You're an adult. Barely.

Point made. She walks down the hall. Comes to a closed door. Knocks softly. No answer. She opens the door and sees --

ANNIE HANSON is 50, heavy, and COVERED IN BLOOD. She sits on the edge of her bed, sobbing, mumbling, and rocking back and forth gripping a KITCHEN KNIFE. Cuts run up and down her arms. She never notices the open door. Jane doesn't give her a chance to -- she closes the door quickly.

Jane stands a moment in the hall -- she is in no way prepared to navigate this world, and she knows it. She dreads walking to the living room and facing Martin, but does it anyway.

When she reaches the living room, Martin stares hell at her. She has it coming.

JANE

I'm sorry.

There is a knock at the door. Martin opens it. It's Cory.

The two men stare at each other. Don't speak. Martin's lips tighten. Cory gives him a sad smile. Martin's tight lips begin to quiver.

Cory steps back onto the porch. Martin follows him. Cory kicks the door and we glimpse Martin fold into Cory's arms as it closes, shutting us out.

Through the door, we hear the man heaving enormous sobs that seem to shake the house's flimsy foundation.

Ben and Jane stand perfectly still, listening to pain echo against the door like a storm.

EXT. HANSON HOME -- WIND RIVER, WYOMING -- LATER.

Cory and Martin sit on the porch, looking out over the snowcovered sagebrush.

CORY

I'd like to tell you it gets easier, but it doesn't. If there's a comfort -- you get used to the pain if you let yourself ... I went to a grief seminar in Casper. Don't know why, just ... It hurt so much, I was searching for anything that could make it go away ...(MORE)

CORY (CONT'D)

That's what I wanted this seminar to do -- make it go away. The instructor come up to me after the seminar was over, sat beside me and said, "I got good news and bad news. Bad news is you'll never be the same. You'll never be whole. Ever. What was taken from you can't be replaced. You're daughter's gone. ... Now the good news -- as soon as you accept that, as soon as you let yourself suffer, allow yourself to grieve ... You'll be able to visit her in your mind, and remember all the joy she gave you. All the love she knew. Right now, you don't even have that, do you?"

Martin finds himself shaking his head 'no', even though the question wasn't directed at him.

CORY (CONT'D)

He said, "that's what not accepting this will rob from you".

Cory looks at Martin.

CORY (CONT'D)

If you shy from the pain of it, then you rob yourself of every memory of her, my friend. Every one. From her first step to her last smile. You'll kill 'em all.

Cory puts his hand on Martin's neck, guides his eyes up to him.

CORY (CONT'D)

Take the pain ... Take the pain, Martin. It's the only way to keep her with you.

Martin drops his head into his lap. Cory resists the temptation to do the same.

The big man stands up, pulls a cigarette from his pocket, lights it. Walks out into the snow.

MARTIN

I'm tired, Cory. I'm just so tired of fighting this life.

CORY

What you do now you do for your son.

MARTIN

Drugs is his family now ... He's gone too. Lives just down the damn road, but ... He's gone.

Martin takes a long drag.

MARTIN (CONT'D)

I expect they'll find he's involved in this somehow.

Beat.

CORY

He stays with the Littlefeather boys, doesn't he.

MARTIN

Yep ... You're driving this Fed around so she don't get lost, that it?

CORY

That's what they asked me to do, but that's not what I'm doing.

MARTIN

What are you doing?

Martin looks back at Cory.

CORY

I'm a hunter. What do you think I'm doing?

Martin walks toward the porch, bores his hawk eyes into his old friend.

MARTIN

If you find who did this ... (His eyes burn into Cory) No matter who it is. You understand me?

He does.

CORY

Right where they stand.

Martin nods. Flicks his cigarette into the snow.

MARTIN

Then get off my porch and go do it.

Cory stands and follows Martin as he heads back into his crumbling house.

INT. CORY'S PICK UP -- DAY.

Cory follows Jane's SUV, who follows Ben's squad car ... They move down an empty highway. As they drive, Cory looks over, sees two coyotes trotting through the snow to his left. Notices a flock of sheep on the horizon...

The sheep form their silly circle as the coyotes move closer at a dead run.

Cory doesn't slow down and doesn't look back. He's not hunting coyotes. Not today ...


End file.
